If this movie is truly following the lead of The Hunger Games’s marketing, then you can expect a minimum of a dozen more posters trickling out in the next 12 months.
Even amid the troubling trend of remaking films that have barely collected a speck of dust, there are still movies that can surprise you.
Lost in the music, mustaches, and furniture of the early ’70s, this docudrama of a porn star’s exploitation isn’t nearly painful enough.
Epic is something close to an animated masterpiece provided it’s watched on mute.
The Big Wedding couldn’t possibly be more square.
Lovelace seems unwilling or unable to go to deeper and darker places.
Everything in the film, songs included, is cranked to 11, the melodrama of it all soaring.
It would appear that one of the biggest challenges facing movies with huge, starry casts is getting all the actors together to shoot the poster image.
Lightly likable, if finally flimsy, A Bag of Hammers suffers from both an odd, ineffective structure and a low-key tone.
The pieces of Jill’s puzzle, which she inexplicably must race to solve by morning, stack up in a manner as endlessly implicative as bad porn innuendo.
Lots of folks go missing in the movies, and some of the most memorable are right here in this list.
Andrew Niccol returns to the eugenics-fostered class dynamics of Gattaca with In Time.
Red Riding Hood is sort of like a hook-up that you remember more or less fondly but still would never tell your friends about.
A remarkable image and sound presentation dignifies this DVD release of Hallström’s latest cheesefest.
One would think the presence of the regal Vanessa Redgrave might at least moderately enhance Letters to Juliet’s wine-country schmaltz.
Hate mail for the hoity-toity art world, Boogie Woogie demonstrates the same mercy to its milieu that a flesh-eater might show a fresh carcass.
At least for the film’s first half, Atom Egoyan shows a flair for efficient storytelling.
As midwinter sudsers go, you could do a lot worse than Dear John.
The film is on shaky ground when trying to adopt slasher conventions, and less so when adhering to traditional body-horror tropes.
The season finales of Big Love often have a bit of an out-of-control feel to them.